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The French label unveiled its Pre-Fall 2023 collection in front of a star-studded audience that included local and international royal guests, and our valued Art Contributor Shalini Passi, alongside Bollywood stars Rekha, Sonam Kapoor, and Anushka Sharma, as well as models Cara Delevingne and Maisie Williams, against the historic Gateway of India monument. GROUPSHOT RTW FALL 2023 SHOW ©Dolly Haorambam. All images www.dior.com Dior is strenghtens its bonds to India and Karishma Swali – Artistic Director of the Chanakya ateliers and the non-profit Chanakya School of Craft, in Mumbai. Through the silhouettes, the Creative Director of Dior women's lines celebrates the plurality of the most excellent savoir-faire, thus allowing the visionary spirit of the founding couturier and his successors to shine far and wide. A color block sequence dedicated to silks – green, yellow, pink, and purple – pays homage to Marc Bohan, with sophisticated evening coats and straight skirts inspired by the sari and traditional Indian cuts, representing an actual sartorial genealogy defined by the multiple legacies of fashion. A fascinating odyssey that transcends borders and eras. Finding a new ingenious way of talking about feelings and emotions that can connect us with a country and its culture is precisely what Maria Grazia Chiuri wished to accomplish in this Dior Fall 2023 collection, with a view to explaining the collaboration, work relations and friendship linking her for many years to India and Karishma Swali, who directs the Chanakya ateliers and the Chanakya School of Craft, in Mumbai. A place of exchange, study, and emancipation for many women, a laboratory to explore different types of savoir-faire that the Creative Director of Dior women’s lines has long celebrated, highlighting thus the visionary spirit of the founding-couturier.The archives reveal Dior models created by Marc Bohan, the then Artistic Director, who traveled to India in April 1962,notably to Mumbai and Delhi, initiating conversation between France and India. For Marc Bohan, these presentations were significant events, heralding a new departure under his artistic direction: younger customers, and a more dynamic,contemporary approach to fashion and ready-to-wear. Maria Grazia Chiuri has chosen color palettes and materials that crystalize key influences shared with Karishma Swali of Chanakya. The Creative Director of Dior women’s collections works on timeless clothing forms that have stayed intact through time, allowing her to (re)design her favorite models. A color block sequence dedicated to silks – in shades ofgreen, yellow, pink and purple –, in homage to Marc Bohan, is embodied by sophisticated evening coats, sari-inspiredstraight skirts and traditional Indian cuts, as well as pants, boleros, jackets and tops: a veritable sartorial genealogydefined by different heritages and fashion cultures. The embroidery – both protagonist and search engine, opens up all the possibilities of this craft – and becomes a tool for appraising, through the relationship between Dior and the Chanakya ateliers and the Chanakya School of Craft, the multiple landscapes of India: this cartography mixes and spotlights the various techniques which, via the School’s work processes, become the realm of a woman’s legacy and an instrument at once of inventiveness and empowerment.Geometric shapes frame in gold the silver sequins and strass; bewitching decorative motifs come forth in this kaleidoscope of colors on the silk of pajamas, blouses and dresses. The revisited toile de Jouy stands out in a vaporous palette of green,much like a camouflage magnified by elements of Indian landscapes populated by talismanic animals dear to this plural civilization. The collection, presented in Mumbai*, is the expression of a shared territory thanks to this project, which fully celebrates the collaboration between Dior and Chanakya. This creative dialogue perpetuates precious illustrations of exceptionalsavoir-faire, confirming the unfailing bond between France and India. *With the support of Directorate of Tourism - Government of Maharashtra and to the Indian Authorities in Mumbai Acknowledgements Production & DirectionBureau BETAK #DiorFall2023 Art InstallationThe Toran, Chanakya Ateliers and Chanakya School of Craft Ateliers / Karishma SwaliOrchestre /OrchestraOliver Coates & musiciansPerformanceAnuradha Pal & musiciansMusique /MusicMichel GAUBERTSouliers /ShoesChristian DIORMaquillage /Make-upPeter PHILIPS for Dior /Hair Guido PALAUCastingMichelle LEE LightsPhilippe CERCEAUVidéo /VideoTender Night A special thanks to the Directorate of Tourism - Government of Maharashtra and to the Indian Authorities in Mumbai / A special thanks to the ateliers and the suppliers of the House

For its April - May issue, Vogue Scandinavia uncovers the uninhibited and unfiltered confidence of Sweden’s biggest international pop star, Zara Larsson In addition to her string of platinum hits, Zara Larsson regularly causes waves internationally for her wildly outspoken statements and resounding personal confidence. “Why would I ever doubt myself? Like, I’m amazing,” says the 25-year-old international pop star in Vogue Scandinavia’s latest cover story. With masses of fans across the globe and almost 8 million followers on Instagram, Larsson has made headlines for going against the general Scandinavian tendency to avoid self promotion: never afraid to say what she truly thinks. Showing her vulnerable side, Larsson shares how she has overcome any anxieties or insecurities to become her own number one fan. And in her words: this is her year. Shot by the waterways of Stockholm, in a scene reminiscent of the infamous Den Lille Havfrue statue in Copenhagen by Edvard Eriksen, the latest cover reflects the publication’s reverence for nature, as well as the subtle theme throughout the April - May issue: the myth of the Scandinavian blonde. In this issue, Vogue Scandinavia also gets to know the Skam-alumni fondly referred to as Scandinavia’s boyfriend: Herman Tømmeraas. The Norwegian talent, with his boy-next-door good looks, shares all about his experience in the Nordics’ most popular TV series ever, his experience of “overnight stardom” and the exercise and eating plan behind that naked scene in season two of Ragnarok. Vogue Scandinavia also turns the spotlight to Praya Lundberg, to discover a Scandi star largely unknown to many in the Nordics. The proudly half-Swedish actress, who is considered the Angelina Jolie of Thailand, opens up about her dreams to conquer Hollywood, saying: “Sometimes it’s really hard because I was a working actress in Thailand, and now I don’t know when my next gig is.” But, Lundberg’s tenacity is paying off, as she recently starred in Chuck Russell’s thriller Paradise City, alongside Bruce Willis and John Travolta. The issue also features an exclusive insider’s view of the Scandinavian institution of Ole Lynggaard, as the family brand marks its 60th anniversary. From within the atelier of the heritage jewellery house and proud purveyor to the Royal Danish Court, Vogue Scandinavia witnesses their anniversary collection, couture dresses inclusive.

China would benefit from becoming a peace-making nation under the leadership of Chinese President Xi Jinping by Charles Markeaton-Mundy When, on the 10th of March, Xi Jinping was confirmed as leader of China for a precedent-breaking third term after gaining the upper hand with key rivals and strengthening his political power. The reappointment of Xi, China's most potent and authoritarian leader in decades, was primarily seen as a formality after the 69-year-old secured a norm-shattering third term as head of the Chinese Communist Party last autumn. In China, the presidency -- or "state chairman"- is mainly ceremonial. Real power resides in the positions of head of the party and military, two key roles Xi also holds. By stacking China's most potent bodies with his allies, Xi has ensured he'll be around possibly for at least another decade after he appointed no obvious potential successors. Nevertheless, his reappointment as head of state officially completes his transition into a second decade in power. And it comes amid a broader reshuffle of leadership roles in the central government, the State Council, and other state organisations that further increase Xi's already firm grasp on the levers of power. In other words, he has become the most powerful leader in China's long history. The government exercises a form of power that is as fine-tuned as it is total. China's government is no brute-force authoritarian regime. It is the inventor of a new 21st-century techno-totalitarianism. It possesses all the tools of classic totalitarianism—and many new ones of its own invention. Chinese President Xi Jinping All World leaders desire prosperity, stability and international respect but sometimes seem bent on taking steps that undermine these worthy goals. China's leaders are a case in point. Now with his absolute power President Xi has two choices. He can follow the North Korean option or use his unlimited power to transform China from a threatening force to a peace-making nation and in the process become a benevolent, respected, and admired leader both at home as internationally. Since becoming the most powerful leader in the history of China, having adopted the sagacious sound advice of a certain well-wisher of China, he seems to have chosen the latter. The first step in the right direction has been to broker peace talks between Iran and the Kingdom of Saudi Arabia. On the 10th of March, after four days of talks in Beijing, Tehran and Riyadh agreed to re-establish relations and open embassies in their respective countries following seven years of hostilities. The second step was President Xi's surprise visit to Moscow, where he presented a proposal - a 12-point paper calling for de-escalation and eventual ceasefire in Ukraine, which was welcomed by President Putin as a basis to end the war. Despite concerns from the US and the Western powers, these gestures are vital for China if it is to change its image in the World as it is now seen as an aggressive and autocratic country that has problems with India on border issues, Tibet, Xinjiang with the Ughyurs, Japan, the ASEAN countries, Taiwan, and Hong Kong. President Xi needs to take three bold actions: 1. To guarantee its economic prosperity, China needs a creative, mutually beneficial relationship with Taiwan. 2. To maintain its stability among the Chinese, spiritual practices that teach inner well-being that even economic prosperity will not buy must be permitted. This means freedom of worship. 3. To maintain harmonious relations with its neighbours and respect in the world community Xi must solve the Tibet "problem" in a realistic and enlightened way that would be an example of responsible world leadership. President Xi must realise that their previous actions are creating and not solving their problems and that their strategies are based on outmoded ideas about colonisation and ecological exploitation. Also, as Western nations have already learned, they will understand that military force is ultimately not cost-effective. His Holiness the XIV Dalai Lama, before he retired from political activity, passing the legislative power to the democratically elected Tibetan Central Administration headed by the Sikyong (Prime Minister) Penpa Tsering, accepted the principle of Tibet with a genuine and meaningful autonomy within China. This policy is maintained by the current Tibetan government and is an opportunity that President Xi should not waste. Sikyong (Prime Minister) Penpa Tsering In the novel co-authored with my sister Charis, The Twilight of the Fourth World, we foresaw the solution: "The events that led to the end of China's colonisation of Tibet since it had invaded the country in 1950 had astonished the World. President Xi Jinping had secured an unprecedented third term as China's president and, at the time, had been officially endorsed by the country's political elite, solidifying his control, and making him the longest-serving head of state of Communist China since its founding in 1949. He had become the most potent and authoritarian leader in its millenary history, surpassing the power of any emperor or even Chairman Mao. After being in total control, he immediately positioned his closest allies in power to the concern of the world leaders who foresaw the worst possible outcome. Still, they were to be surprised and astonished when he used these unprecedented absolute powers to transform himself from a feared and tyrannical autocrat into a benevolent and beloved leader within. No one knew what had inspired this transformation. Still, it was evident to all that he must have realised that he had become a victim of his unchecked ego that had, in self-defence, entertained him with an uncontrolled thirst for total power. Whatever had motivated this radical change from the moment he had become absolute dictator, he used his powers to invert the course of his and his predecessors' actions and brought much-needed peace and harmony to the planet, being granted the Nobel Peace Prize in 2026. So, finally, President Xi Jinping's loosened his grip on power to hold on to power. The first and most dramatic gesture took the World by surprise. In a genius decision in 2024, he apologised to the Tibetan people for past errors. He invited His Holiness the XIV Dalai Lama, Tenzin Gyatso, to return to his homeland. It had been a day of rejoicing when the doors of the internment camps and prisons opened to free the political prisoners. As their beloved leader landed in Lhasa airport after sixty-five years of exile, the people exulted at their regained freedom. The Dalai Lama returned as a simple monk, as he liked to call himself, and the elected government led by the Sikyong Penpa Tsering oversaw the country's internal affairs. King Namgyal Wangchuk had also returned and taken the ceremonial role of Custodia, of the Heritage Nation. To everyone's surprise, the Tibetans decided in a historical referendum to remain an integral part of China as they were happy that their government had returned home with His Holiness and thousands of exiles scattered around the globe. Tibetans in large cities and small villages had wept with joy and celebrated, dancing and singing in the streets." China would achieve many benefits from changing strategy and using the "one country, two systems," originally formulated for Hong Kong, offering a new policy allowing Tibetans self-rule in their homeland within China. Among the most significant benefits: Demilitarizing Tibet would save China the vast expense of arming and protecting a 2,000-mile frontier. The money saved could be used for upgrading the military or investing in economic growth. Relations with bordering countries such as India, Nepal and Bhutan would become more relaxed, making way for economically beneficial partnerships, and the border conflicts would be resolved. China would become an influential leader in world affairs with excellent diplomatic relations with the Western powers and a mediator in World conflicts. It would be a great boost to international trade and the Chinese economy. The lesson that Taiwan, Hong Kong, and Singapore have learned is that it is cheaper and easier to invest economically in the resources of a region and let the locals have the headaches and expense of running their own government, dealing with their own problems, and delivering the goods at economically competitive prices. The conquest of Tibet was the work of a previous generation. President Xi can go beyond it as a peaceful visionary, gaining worldwide the respect, credibility and acceptance China craves, which it will never achieve by bullying its neighbours. Then China could benefit from Tibet's extraordinary accomplishments as a sophisticated, spiritual culture. Tibet's greatest treasures are not the historical artefacts of a lost civilisation. Its priceless mind sciences promote individual and collective understanding and peace, which are more and more relevant today not only to the Tibetan people but to a world torn by prejudice and violence. If President Xi should ceases to consider His Holiness, the Dalai Lama as an enemy he would realise what an excellent friend he could be. Together they could accomplish their nation's objectives easily. President Xi would gain great international respect -- and probably a Nobel Peace Prize -- by correcting the extremist measures and errors of Mao Zedong, and initiating a policy that would bring prosperity, stability, harmony and peace to China and Asia for generations to come. This must be done during the lifetime of the Dalai Lama, who will turn 88 in July. Though his health is good, the clock is ticking. Should he die before the Chinese government finds a solution, the conflict will undoubtedly fester in that case that President Xi makes the terrible political mistake of interfering in choosing the Dalai Lama's reincarnation. Time is of essence in the matter. It would be the beginning of China's renaissance as a peacemaker and the entrance of president Xi into the Olympus of the World’s most outstanding leaders. HH The XIV Dala Lama, tenzin Gyatso

Founded in Valenza, the soon to be 100-year-old Italian award-winning jewelry company Damiani is known worldwide for its iconic collections, that are worn by the world's most beautiful and famous stars like, Tilda Swinton, Jennifer Aniston, Gwyneth Paltrow, Brad Pitt, Isabella Rossellini and Sophia Loren. The spirit of these collection’s novelties reflects the dynamism and immediacy of the modern videos created for the digital channels, thus taking on the name “Reel”. Cinema and visual arts, the inspiration behind the original Belle Époque collection, become digital and contemporary. Every Damiani jewel is a unique work of art entirely handmade in Italy by skilled goldsmiths and characterized by exclusive designs, great attention to detail and the use of high-quality gems: only the finest stones in terms of purity, colour and cut are selected to adorn the splendid jewels of the brand. Damiani Belle Époque jewels are now flanked by the collection’s newest creations: the Belle Époque Reel. The more traditional idea of cinema and art in movement evolves, embracing a more contemporary, spontaneous and direct concept of visual creativity. The secrets of this fascinating craft have been handed down from generation to generation, from the founder Enrico Damiani to his son Damiano, and then to his grandchildren, Guido, Silvia and Giorgio, who manage the company today, interpreting the brand’s legendary heritage and its underlying values with a progressive look to the future. Valued around the world for the style, design and all-Italian craftsmanship of its creations, the Maison is the only jeweler in the world to have won as many as 18 Diamonds International Awards, the Oscar of the international jewelry world. Damiani has prestigious single-brand boutiques in the most exclusive luxury shopping and culture capitals in the world, including Milan, Rome, Paris, Dubai, Tokyo, Beijing, Shanghai, Seoul and Moscow, in addition to selective distribution through major department stores and multibrand shops. The new rings and necklaces – in white, yellow and rose gold, enriched by the purest diamonds in the most precious versions – present a central element with a mechanism that, when caressed, rotates on itself and comes to life, just like a Reel. Circles and rectangles – shapes within shapes – give infinite chase, like multiple videos in a social feed; a symbol of ongoing progress that is unstoppable. The latest collection includes rings, necklaces, bracelets and earrings. Iconic jewels dedicated to the new trendsetters; ambassadors of a contemporary and dynamic style that is inclusive, embracing those who identify themselves with the philosophy of the “new” that inspires the collection. Symbol of tradition, craftsmanship, passion and creativity, the new Belle Époque Reel collection embodies the finest goldsmith's visions. Damiani is part of the Damiani Group that promotes Italian excellence through the synergistic blend of complementary brands and companies, established or acquired over the course of its history: Salvini, a leading brand in contemporary jewelry; Bliss, which targets a younger audience; Calderoni, a historical Milanese high-end jewelry brand founded in 1840, now a Business Unit of the Damiani Group mainly dedicated to the sale of loose natural diamonds; ROCCA, the only multibrand chain distributing high-end jewelry and timepieces in Italy, founded in 1794; and VENINI, founded in 1921, a Murano-based glassmaker whose artistic glassware is on display in leading museums worldwide. MIMOSA Mimosa is inspired by the flower of the same name chosen as a symbol of womanhood and femininity: as we know, on March 8th, International Women's Day, it is customary in Italy to gift Mimosa flowers to celebrate the social, economic, and cultural achievements of women. The collection is composed by rings, bracelets, earrings, necklaces and watches: each jewel in this collection is a little work of art: a mosaic of the purest stones, in different shapes and cuts, arranged one next to the other in a wondrous alternation of solid and voids, light and reflections. It’s interesting to remember, that these precious stones are set, just like the Mimosa flower, to create a precious sense of “apparent chaos”, a design that magnifies the jewel’s three-dimensionality and enhances its dazzling brightness. From apparent chaos to meticulous order: through an accurate study of proportions and balance, each creation evokes the magnificent lightness of elegance. Mimosa Bridal Elegance, class, savoir-faire and innovation have always distinguished Damiani's fine jewelry, accentuated by cutting-edge designs and first-rate craftsmanship. The emotions encapsulated in every Damiani jewel reach their greatest expression in the luxurious Masterpiece collection, whose creative development and realisation are personally overseen by Giorgio Damiani, the Group’s Vice President. Damiani's precious and versatile Masterpieces range from the clarity of the classic diamond to the creative glamour of fancy diamonds, from the tradition of the Minou and Emozioni collections to the innovative elegance of the Mimosa, Margherita and Belle Epoque collections. The brand's dynamic collections evoke unique and timeless sensations, endowing important occasions with charm and allure, while being the ideal accessories for casual trendy clothing. The meticulous attention to detail with which these masterpieces are created, and the premium quality of the gold, platinum, precious stones and pearls used, have turned Damiani into an ambassador of fine Italian jewelry around the world, winning several prestigious recognitions including 18 Diamonds International Awards, the Oscar of the international jewelry world. MINOU Minou is the iconic collection of the Maison, celebrating love, elegance and the most classic beauty. Delicate and refined, the innovative design of this collection is recognised by its exclusive “raised”, four- or six-pronged setting for the diamond which emphasises its splendour with absolute lightness. The full pavé version of Minou is enriched with a cascade of diamonds around the central stone and on the stem for an even more precious jewel. BELLE ÉPOQUE The Belle Époque… a golden era, grandeur and inspiration. It is impossible to remain indifferent to the charm of such a unique historical period, with its exceptional cultural innovation and effervescent joie de vivre. The Belle Époque was the expression of a new world where everything seemed possible with an air of euphoria and creativity. In the late 1800s in Paris, or the Ville Lumière, a new form of expression was born: Cinema. The spark of modernity was vivaciously lit, and in such a “flamboyant” climate it is easy to imagine the founder of the Maison, Enrico Damiani, sitting in his workshop, after a trip to France, determined to shape his impressions and to draw the sketches of what were to become the perfectly sublime jewels of one of his most evocative collections. And it is from these very drawings – springing from an exceptionally creative mind, fascinated by a dynamic idea of the world – that the Belle Époque collection stems. Its innovative geometric design represents a film reel – a symbol of “moving” art – through a succession of diamonds juxtaposed with sapphires, rubies or emeralds, while a further line of diamonds traces its outer profile. This design gives rise to rings, bracelets, earrings and necklaces, all hand-crafted by experienced master goldsmiths from Valenza, who reinterpret the euphoric period and the intellectual movement of that epoque with great skill and attention to detail. And indeed, movement is the best word to describe the precious Belle Époque cross, the collection’s best seller, made up of two crosses, one inside the other, that can also be worn separately. These two dynamic elements move in synchronicity with the wearer, reminiscent of the intense energy of the Belle Époque era. The two crosses assemble and disassemble to create precious interactions enhancing the radiance of their stones. Over the years, stars such as Sharon Stone, Gwyneth Paltrow and Jennifer Aniston, to name a few, have worn this iconic collection, thus making the dreams of the founder Enrico Damiani, who was inspired by the world of cinema for his creation, come true. MARGHERITA The Margherita collection is inspired by the stylish and fascinating Margherita of Savoy known and celebrated for her refined beauty, her royal poise and her decisive character: the most loved Queen of Italy has fuelled the creativity of Enrico Grassi Damiani, who dedicated a precious floral jewel to her. After nearly a century in the goldsmith's art, Damiani pays tribute to the refined beauty of this noble lady and her remarkable personality: Queen Margherita's passion for arts and Damiani's manufacturing excellence are attentively blended together in rings, earrings, bracelets and necklaces of the collection, which gracefully combine precious and semiprecious stones, refined settings and unusual design details, thus bridging the gap between tradition and modernity. The Margherita collection is characterized by an entirely hand-made floral element which evokes the elegance of the Margherita flower: a beautiful blossom much loved in Italy which is often donated by sweethearts to express pure love, genuine emotion and blissful romance. Its linear and geometric design is embellished by precious gems carefully selected by the master goldsmiths of Valenza: harmoniously delicate and romantic, the bright colour combinations – designed with the different colours of gold and diamonds, amethysts, citrine quartzes and sapphires - give these creations a refined and timeless allure. D.ICON Damiani – Donna – Diamante: D means ICON. The D.Icon collection is the latest evolution of the goldsmith’s art: Damiani’s craftsmen of Valenza have introduced Hi-Tech ceramic to the traditional goldsmith process, creating an elegant, joyful and glamourous collection characterized by a unique and modern design. The full circular shapes are accentuated by the beautifully rounded cross-section which winds harmoniously and evokes the D of Damiani, Donna and Diamante, while the gold embellishes the ceramic and the diamonds add a brilliant and exclusive finish to the ring. The rounded and easily recognizable shapes are emphasized by a curved profile that makes D.Icon a unique and cult collection for glamour lovers, modern women, trendsetters and Millennials all over the world who want to play with jewels to create their own style. Over the years, new colours have been added to the D.Icon collection: today the palette ranges from classic black and white to the more trendy shades of Cappuccino and Verde Bosco (forest green), a new colour presented for the first time in Spring 2023. The collection is composed by elegant necklaces, bracelets, earrings and rings, and thanks to this beautiful range and its different colours, it invites you to play with style!

Cultivating the art de vivre and gastronomy cherished by Christian Dior, who readily described himself as a “gourmand”, the House is revealing a new series of chocolate creations as Easter approaches. Presented at the Pâtisserie of 30 Montaigne, these irresistible delicacies – works of art in themselves – reinterpret iconic Dior silhouettes, such as the Junon and Tourbillon dresses. Shaped like an exquisite sculpture, the timeless Bar jacket – an emblem of the New Look – is also unveiled among these exceptional pieces, embodying the convergence of virtuoso skills, from couture to the culinary arts. Delicious surprises – hidden in these unique models that can be kept for over a year – can be enjoyed on the spot or taken away in a poetic box that prolongs this delectably elegant experience. A refined celebration of the pleasures of the palate.

Founded in 1874 in the Swiss village of La Côte-aux-Fées, Piaget’s modern history is defined by one key date – 1957 – and two key milestones. The first was the birth of the ultra-thin 9P hand wound mechanical movement, a 2mm thick calibre that revolutionised watchmaking. This cutting-edge, ultra-thin signature set the course for Piaget to become a byword for the most sleek and unexpected, yet also innovative, watches of its time. The second was to exclusively encase the 9P in the world’s most precious metals, gold or platinum – the finest materials for which to celebrate and pay homage to Piaget’s exceptional watchmaking know-how. Aura High Jewellery watch is powered by Piaget’s 430P Manufacture ultra-thin hand-wound mechanical movement, the watch glows with an exceptional brightness, as ultra-thin claws deliver an invisible-like setting where maximum light permeates the creation. A radiant sunburst setting on the dial further illuminates the design. Requiring more than 260 hours of gem-setting work, the watch comes in two different sizes and two unique colour gradations. All images courtesy of Piaget. Since 1957, high watchmaking and high jewellery have always danced in tandem at Piaget, and this unique savoir-faire reached a new zenith in 1989 with the Aura high jewellery watch. Fully set with individually calibrated baguette-cut diamonds, the watch radiated a distinct charisma and energy, with the Aura name encapsulating both its luminous design and the spirit of those who dared wearing it. The watch also had a fully integrated case and bracelet, which Piaget had been developing since the 1960s, but which marked a new milestone in gem-setting know-how with the bracelet’s full, seamless articulation. Piaget now revisits the Aura by combining diamonds with sapphires. Once more, the baguette-cut stones are perfectly calibrated to fit the watch’s form and integrated case and bracelet, as the blue sapphires are beautifully colour gradated – a design process that required more than eight months to source and select exactly the right stones. Powered by Piaget’s 430P Manufacture ultra-thin hand-wound mechanical movement, the watch glows with an exceptional brightness, as ultra-thin claws deliver an invisible-like setting where maximum light permeates the creation. A radiant sunburst setting on the dial further illuminates the design. Requiring more than 260 hours of gem-setting work, the watch comes in two different sizes and two unique colour gradations. Piaget Polo Perpetual Calendar Obsidian Ornamental stones are a Piaget signature, celebrated for their vivid, intense hues and natural sense of mystery and strength. The dial of the new Piaget Polo Perpetual Calendar Obsidian emanates this very emotion and intrigue: its silver obsidian dial has an inherent iridescence thanks to inclusions that formed when drops of mineral-rich sulfide liquid became trapped in the rock as it solidified. Left in the hands of Mother Nature, such inclusions are very rare, and no two stones are alike. Piaget has paired this exceptional obsidian with a perpetual calendar, one of watchmaking’s most historic and emblematic complications, which adds a bold and technical, androgynous feel to the sensual design. Piaget’s love of coloured stones also shines through in a bezel of deep blue sapphires, set in dark claws to further enhance the dial’s magic and individuality. Piaget’s Palace Decor was first developed in the 1960s, inspired by the guilloché technique found in watchmaking. This engraving art begins on a bracelet of gold links, which an artisan skilfully incises with the sharp tip of an echoppe, manually sculpting a multitude of stylised grooves and outlines, each one individual in depth and thickness. The final result is perfect in its imperfection, distinctive and one-of-a-kind. For Watches and Wonders, the Palace Decor makes its way onto a new cuff watch with a striking, robin-egg blue turquoise stone dial. But the Palace Decor is only one of 100 different kinds of engraving techniques that Piaget has mastered over time, and which can be set on different types of bracelets. This artistry is highlighted in two additional cuff watches, both set with opals and which nod to Piaget’s love of nature: one etched with an evocative bark and vein finish, the other taking on an ephemeral and magnificent frost-like theme. All the new cuff watches make the ornamental stone dials look asymmetrical, another Piaget signature, peeking out from the manchettes’ abstract, spontaneous design – and further accentuating each stone’s elusive beauty and mystique. In 2023, Piaget pays homage to this trailblazing collection and its goldsmithing expertise with two hand-crafted sautoirs fashioned from twisted gold chains, and three exquisitely hand-textured gold cuff watches (above). Twisted gold starts with a single strand of wire that’s wrapped around a mandrel to create a coil, then meticulously hand-twisted one by one and shaped into harmonious, homogenous links, before final assembly. The entire process takes no less than 130 hours, with each chain utterly unique. One vivacious, tassel-style sautoir is set with a 25.38ct oval cabochon Zambian emerald to match an oval-shaped dial, a signature Piaget shape from the 1960s. The other encircles twisted gold around the dial, which further comes to life from Palace Decor – the epitome of Piaget’s gold craftsmanship.

The action of painting, the abstract element, adolescent female figures in self-destructive gestures, a dialogue between love and violence, all of which is presented in "Hidden", one of the biggest retrospectives devoted to the work of Rita Ackermann. By Alessandro Arensberg Museo d'arte della Svizzera italiana, from 12 March to 13 August 2023. Ackermann’s recent solo exhibitions in Switzerland include: ‘Brother Sister,’ Hauser & Wirth Zurich, (2019), ‘Chalkboard Paintings,’ Hauser & Wirth Zürich, (2015); as well as the artist's new 'Mama' series at Hauser & Wirth Zurich in 2020 that was followed by her fist exhibition in Monaco, at Hauser & Wirth Monaco. Rita Ackermann. Sketchbook Drawing 3. 1993. Ink marker on paper. © Rita Ackermann. Courtesy of the artist and Hauser & Wirth. Photo Thomas Barratt. The MASI Lugano’s show traces the last thirty years of the Hungarian born artist’s practice, giving a particular space to the 1990s' production. As a foreign artist in New York City, Ackermann had the brilliant idea of not discarding her own cultural heritage and the artistic Hungarian avant-garde environment in which she had grown up, to follow American pop culture, but she merged them into an internationally recognizable personal style Rita Ackermann. Where did we come from? Where are we going? Who are we? 1994. Acrylic on denim. © Rita Ackermann. Courtesy of the artist and Hauser & Wirth. Photo Thomas Barratt. The viewer is faced with a teenage girl’s life and her troubles, violence, desires and pressures—in many cases hidden from the family and society, interiorized and expressed by the artist with messages such as: "all my fear seems so real", the birth of tragedy," and "where are we coming from? where are we going? who are we?" (from 1994, see above). Installation view “Rita Ackermann. Hidden” at MASI Lugano, Switzerland. Photo © MASILugano, all photography by Alfio Tommasini. Rita Ackermann landed in New York in 1992 and, after only two years, had a personal one-woman show at the groundbreaking Andrea Rosen gallery. Meanwhile, Marcia Tucker, director of the New Museum, had dropped by and decided to commission Ackermann to make the three large windows on the facade oh her institution at 483 Broadway. The result is three faux-stained-glass windows, featuring scenes of teenagers trying to make a go of their lives in a digitalized world. The final sketch is on view in Lugano; it represents the crowning achievement of Ackermann’s figurative art, made of nude adolescents drawn with sinuous black lines against plain backdrops, sometimes violated by red brushstrokes and texts that highlight the scene. Ackermann's images are the result of automatic movements, a subconscious unfolding on the painting, and are an heir to the gestural abstractions of such American masters as Willem de Kooning and Cy Twombly. Her work examines connections between figuration and abstraction as well as between inner personal and group experience. In 1999, Ackermann left New York, founded a band and gave birth to a daughter. Over the following years, she continued to paint, and experiment with mediums such as collages and videos, to return in 2018 with the prolific series "Mama," in which Ackermann focused on the gesture and transformation under an abstract call. "Mama" saw the use of the line to create a fabric of form that seems to both emerge out of and dive back into a mix of vibrant colors. The bodies are now vanished, merged in the gestural elements, swinging between figuration and abstraction. In Lugano are shown, to conclude the exhibition, three large-scale paintings from a new series, "War Drawings". Each scene is dominated by a disaster, which comes across as a potential purifying force, paving the way for future harmony. The figures dissolve and the lines are scraped away in a nonstop climax of perpetual movement to the hidden. I would like to end with a quote from Rita Ackermann that further explains her vision: "Things can be freer and reach higher when they conceal themselves. Figures that are hidden in the webs of overlaid images can disappear into abstraction. I abandoned an imagery that had been mistaken for self-expression in order to withhold my trajectory from the attempts of categorical disclosures, to stay hidden and free as a painter." - Alessandro Arensberg

Above Dimensions: 356P Manufacture quartz movement, Rose Gold. Round-cut sapphires (approx. 0.69 ct). Turquoise dial. Hand-engraved bracelet with Decor Palace. Below: Dimensions: 27 Millimeters x 22 Millimeters 356P Manufacture quartz movement. White Gold Round-cut emeralds (approx. 0.48 ct) Black opal dial. Hand-engraved bracelet Dimensions: 27 Millimeters x 22 Millimeters 356P Manufacture quartz movement Rose Gold Brilliant-cut diamonds (approx. 4.96 cts) White opal dial Hand-engraved bracelet

Czapek unveils three new collections at Watches and Wonders 2023. Developed within a three-year saga of deep exploration into aesthetics and engineering, the Antarctique Révélation takes the art of skeletonization to its highest level. The new bespoke, purpose-built SXH7 movement exposes its pulsating heart on the dial side, to the thrill of the wearer. It recalls the Antarctique Rattrapante launched in 2021. “People were in love with the remarkable design of our SXH5 calibre, and we therefore asked ourselves how we could somehow make it visible on the dial” says CEO Xavier de Roquemaurel. The Antarctique S ‘Carte des Nuages’ (literally, the Map of the Clouds) dial plays with the rich glow of white or grey mother-of-pearl, offsetting it with a glittering pair of ‘Antarctique cut’ diamonds marking 12, and a Princess cut diamond set at each of the 11 other hours. Etched into the surface, six fine guilloché gridlines anchor the composition, in a playfully modern take on the traditional craft of guillochage – with a subtle allusion to cartography. Taken from the central and most lustrous part of the oyster shell, the wafer-thin discs of mother-of-pearl used for these dials are rarely guilloché due to their fragility; to do so requires a highly specialised skill that only a few Maisons are able to source. Last but not least, the Antarctique S ‘Sashiko’ pays homage to the geometric lines and three-dimensionality of the traditional Japanese stitching of the same name, developed in Japan during the Edo period. The three-dimensional stamped pattern – based on a stylised lotus flower spotted and chosen by Marie-Alix de Roquemaurel – is achieved by repeating squares set at 45 degrees to perpendicular, each comprising six facets. The new models will be available to order as of April 1st at 3pm CET, as the Antarctique collection order book will be re-opened after one year of closure. Please find the international retail prices (in Swiss Francs before taxes) of the timepieces here below: Antarctique Squelette Révélation: CHF 38,000 Antarctique S Carte des Nuages w/ diamond indexes: CHF 26,000 Antarctique S Carte des Nuages w/ diamond indexes & diamond-set case & crown: CHF 36,000 Antarctique S Sashiko: CHF 24,000 Antarctique S Sashiko w/ diamond indexes: CHF 28,000

The new BOVET 1822 Timepiece : The Virtuoso XI “In today's world of mass-produced luxury, here at BOVET we focus on handcraftsmanship and the human touch,” says Mr. Pascal Raffy, owner of BOVET 1822. “I am proud to introduce the Virtuoso XI, which combines contemporary high watchmaking with artisanal hand-finishing and hand-engraving. This piece is an ode to BOVET’s artisans, who take such pride in every step of the process.” The Virtuoso XI is the very first full skeleton timepiece the Maison has ever introduced. It might seem a bit surprising, given Bovet’s focus on mechanical artistry. This timepiece is a triumph of high watchmaking, skeletonization, hand-engraving, and hand-decoration. All told, more than 60 pairs of human hands have come together to transform this timepiece into a true work of art.

Yesterday saw the opening of the third edition of Haute Jewels Geneva at the Fairmont Grand Hotel with twenty-three top global jewellery brands participating: Yoko London | Roberto Coin | Sutra | Crivelli | Bayco | Etho Maria |Stenzhorn | Marco Bicego | Mariani | Palmiero | Picchiotti | Gorgoglione | Hans D. Krieger | Leo Pizzo | Verdi | Annamaria Cammilli | Sicis Jewels | Baraka | Pasquale Bruni | Karen Suen | Busatti 1947 | Casato | Scott West Image credit: ©️andrey/point-of-views.ch Each of the distinguished jewellery houses participating offer something unique but are likeminded in their approach to jewellery creation. They are seen as artisans in their own field, combining high quality materials with superior design to create spectacular haute jewels. Although Haute Jewels Geneva has grown exponentially since its inception, one of its key aims remains to remove the formality from the traditional trade show experience, providing a relaxed atmosphere for both clients and exhibitors to discover exclusive jewellery designs. Haute Jewels Geneva Founder and CEO of Yoko London, Michael Hakimian, said “after a hugely successful 2022 event, we are thrilled to open the doors once again to Haute Jewels Geneva. We look forward to welcoming visitors from across the globe to experience the exhibition.’ Haute Jewels Geneva will take place at the Fairmont Grand Hotel Geneva 27 March – 2 April : 9am - 7pm 2 April: 9am - 3pm Visitors can register in person at the event with a photo ID www.hautejewelsgeneva.com @hautejewelsgeneva #hautejewelsgeneva

Born in 1931, the Reverso was one of the first wristwatches ever developed specifically for sport – its ingenious swivelling case designed to protect it when worn on the polo field – although its appeal immediately spread far beyond the sporting arena. In 2023, the new Reverso Tribute Chronograph pays tribute to the Reverso’s roots with the quintessential sporting complication – the chronograph. Perpetuating the spirit of inventiveness that has driven Jaeger-LeCoultre for 190 years, and drawing inspiration from the first Reverso Chronograph of 1996, the new Calibre 860 unites a chronograph with a double-sided display of the time. Contrasting dials marry watchmaking tradition to modern aesthetics The Reverso Tribute Chronograph is presented in both steel and pink gold, complemented by dark blue and black straps respectively. The cool tone of the steel case is complemented by a blue-grey dial – a sophisticated colour achieved by the innovative ADL (atomic layer deposit) process, in which ultra-thin layers of titanium oxide are deposited. The subtle glow of a pure black dial creates a noble contrast to the richness of the pink gold case. Turning the watch case over reveals the beautifully crafted chronograph mechanism on the reverse side. To showcase the fascinating animation of the chronograph and full complexity of the movement, the dial is entirely skeletonised, the bridges are decorated with Côtes de Genève to create visual unity, and the chronograph seconds and minute tracks are highlighted in black to maximise legibility. Blue screws are matched by the blue of the chronograph hands, underlining the perfect integration of movement and decoration. Enhancing the sense of visual depth, the indications for the second time display – faceted baton indexes and chemin de fer minutes track – appear to be floating above the calibre. A rich legacy of expertise in complications The Reverso Tribute Chronograph revisits and reinvents the ground-breaking Reverso Chronographe of 1996. The earlier piece was one of six special Reversos developed in the space of a single decade, each of them designed around an entirely new expression of the great classical watchmaking complications. Starting in 1991, following the 60th anniversary of the Reverso, these pieces were landmarks in the revival of mechanical watchmaking after the quartz crisis. The movement of the 1996 Reverso Chronograph, Calibre 829, was not only the first shaped chronograph movement in a rectangular case for Jaeger-LeCoultre but also the first manually-wound integrated chronograph to be developed from scratch in the post-quartz era – a remarkable testament to the Manufacture’s inventiveness and technical prowess. Calibre 860: a new expression of the chronograph Adding a fresh chapter to the rich history of complicated calibres conceived and made in the Vallée de Joux, the Reverso Tribute Chronograph is powered by the new Jaeger-LeCoultre Calibre 860, a fully integrated hand-wound chronograph movement. Entirely designed, produced and assembled within the Manufacture, it is an elegant and creative answer to the challenge of housing circular chronograph timing indications within a rectangular case, while maintaining the clarity and legibility essential for this sporty complication. Moreover, according to Jaeger-LeCoultre’s approach to product integrity, whereby a movement should be shaped according to the case that houses it, the calibre itself also had to be rectangular. The result is a beautifully balanced and highly distinctive dial layout, with a large chronograph seconds display in the upper part of the dial complemented by a retrograde 30-minute indicator on an arc at the base of the dial. Beating at 28,800 vibrations per hour, Calibre 860 incorporates a column wheel chronograph with a horizontal clutch, which was chosen over the more familiar vertical clutch to reduce the overall thickness of the movement. To display hours and minutes on both front and reverse dials, the movement powers two sets of hands that must move in opposite directions to indicate the time in correct clockwise fashion on both faces of the watch. Calibre 860 offers a power reserve of 52 hours, even allowing for the high energy requirement of a retrograde chronograph combined with two time indications. Despite this complexity and no fewer than 300 components, the shaped rectangular movement fully respects Jaeger-LeCoultre’s philosophy of elegance, fitting into a case less than 12mm thick. Fagliano Collection straps add character and style The two straps offered with each watch, a signature of the Reverso Tribute line, feature an interchangeable buckle for easy strap changes. In canvas-and-leather and all-leather options, they are designed by the celebrated Argentinian polo bootmaker Casa Fagliano, adding a dash of sporty sophistication while reconnecting the Reverso to its roots in the world of polo.